Jones explores the potential success of Faith, who hasn’t
been on the British scene for very long and is on the verge of launching over
here, in relation to the most popular of the recent UK women vocalist imports –
Amy Winehouse and Adele – and declares that there’s room over here for another
Brit diva if Faith can come up with a certifiable hit as Winehouse and Adele did
before her.

I’d argue that a hit song isn’t the only thing that will
more likely ensure Faith’s name recognition in the US. The type of voice and
the image the singer possesses is also an important factor. What Faith has in
common with Adele and Winehouse is her old-fashioned persona and a big,
soul-centered voice to go with it. That’s what American audiences seem to go
for, judging by the rapturous way in which they have responded to Adele and
Winehouse.

If being a 1950s throwback is what it takes to make it big
in America, then it’s no wonder that singers whom I think have much more
unusual and interesting voices, such as the bracing Florence Welch of Florence and the Machine,
don’t get the same airplay over here.

This is a shame. Paloma Faith is a fine singer. But her
voice doesn’t have much of a grain and she lacks physical presence in spite of her
retro hairdos and little girl lost gaze. In short, I’d like to see more
variety in the US market’s tastes when it comes to importing singing talent
from the other side of the ocean.